This album has really grown on me big time. This has got to be one of the greatest prog albums I have bought in a long time. This group, as far as French prog bands are concerned gets mentioned up there with the likes of Pulsar, Atoll, Magma, Ange, etc. and without good reason. The band consisted of keyboardist/vocalist Christian Truchi, guitarist Gilbert Abbenanti, bassist Alain Berge, drummer Alain Faraut, and saxist/flutist Claude-Marius David (who unfortunately died in 1993, according to the booklet included in the Musea CD reissue, but unfortunately no mention of cause of death). En Regardant Passer Le Temps is the first of only two albums and is generally regarded as the better of the two. This is one of the very few prog rock albums I’ve found where I can’t find any flaws.

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Many times I have problems with bad production, bad vocals (or a band singing in poor English if they’re from a non-English speaking country), an album getting hampered by a sappy ballad or two, awful synth sound, poor lyrics, or whatever, but none of that’s to be found here. Christian Truchi decides to sing in his native French, and he has one of the more pleasant voices in French prog (a refreshing change, when you’re accustomed to harsh French vocals, like that of Ange). The band has one of the more unique keyboard sounds I’ve heard, rather than the usual Hammond organ, Mini Moog, and Mellotron, Truchi used a Farfisa electric piano, an unidentifiable synth, and a string synth. So many times you see this band compared with Gong, or Camel, or Soft Machine. Don’t buy in to that at all, this has got to be one of the more original mid ’70s prog albums. For one thing, the music is way more sophisticated than what Gong did. There are plenty of jazzy passages because of the presence of sax, but plenty of spacy symphonic passages. The band is often placed under the « space fusion » category with the likes of Gong and even Ozric Tentacles, which is a bit strange, given Carpe Diem was quite a bit more sophisticated. Expect more of a symphonic space prog album. The album consists of only four cuts, but all are of the same quality, so it’s really difficult picking out the best cut. Plus you can’t beat the cover, which is very much in the style of M.C. Escher (done by Hubert Pattieu). Truly an essential album, as far as I’m concerned. Proghead 72. (15 oct 2003)

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Carpe Diem was a rather short-living French band with (unfortunately) not more than two albums and though they are considered in general by Prog fans of minor significance compared to i.e. Ange, Clearlight or Pulsar they are in fact my top favourite one from that country having quite an unique sound and (at least for me) the perfect blend of progressive rock music. Actually they’re quite difficult to categorize because they revealed elements of symphonic Prog, jazz-rock fusion and space rock. Due to the latter two components of their music I’ve seen reviewers relating them in the broadest sense to the Canterbury and Space Fusion scene which might be a bit misleading. There isn’t any similarity to bands like Soft Machine or Gong in their music and I guess this tag comes from their frequent use of saxophone which has been played by them though not that much in a typical free-form jazzy vein but more based on classical symphonic music.

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Even to their country fellows Pulsar they’re often compared with I don’t hear much of similarity, they had a much more lively and less somniferous sound than that band. Also there’s little resemblance to Ange or Shylock since Carpe Diem revealed only occasionally (and very pleasant) vocals and a high degree of harmony in their compositions. Closest comparisons coming to my mind actually would be Clearlight, Atoll or the Franco-Canadian band Maneige in some way but Carpe Diem mainly sounded like Carpe Diem. I really prefer them to many other symphonic Prog bands not only due to the adorable combined use of flute and sax but also because they managed to never sound overblown or sappy at any moment despite all harmony in their music.

Both of their albums are pretty much in a similar high quality and honestly I’d rate each of them with 90 percent. Their debut here in review opens with the short “Voyage du Non-Retour” in a rather quirky and up-tempo vein and here in fact the jazz-rock classification still fits quite well. But “Reincarnation” reveals already very obviously a sound typical for this band starting with slow e-piano which reminds of harpsichord, gentle flute play and spheric synths. The composition continously gains momentum and develops into an excellent and wonderful symphonic Prog piece with both a jazzy touch (due to the saxophone) and a slightly spacey one (due to tone modulated vocals). “Jeux du Siecle” reminds much more of classical music than of jazz and offers a very warm, gentle and harmonic sound dominated by saxophone, tasteful keyboards and Camel-esque guitar play (actually the only element this band comes to mind) with nice contributions by flute. Most of the track is kept instrumental, only in the final minute there are some vocals. The closing all instrumental one “Publiophobie” is like the introduction again more lively and represents a highly appealing hybrid between symphonic and jazz rock. Especially in its second half there are nice sections where the guitar’s coming more to the foreground for the first time.

As a conclusion I must say that Carpe Diem presented on their debut a felicitous mix of traditional Prog and jazz fusion in a very dense and highly intriguing sound that fascinates the prone listener in a mesmerizing way. Hdfish 7 juillet 2005

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Carpe Diem’s debut album from 1975 is a fantastic symphonic prog record from the start to the finish. Most of this 36 minutes long record is instrumental but there are some minor parts with vocals as well. Just four tracks here which are all pretty wonderful I must say. The opener is the shortest songs here and it’s clearly designed as some kind of intro. But even if it’s quite short it’s still brilliant. Those following three tracks are just irresistable musical pleasure. The overall mood of this album is so damn beautiful, dramatic, melodic and groovy at the same time. And of course the instrumental work is first class.

I can’t think of anything negative to say about Carpe Diem’s first LP. It’s an essential listen for everyone interested in symphonic prog even a little bit. One of the best progressive rock albums from France. Cooper Bolan (24 Fevrier 2004)

Superb French band,who recorded two albums in the 70’s before disappearing just before the 80’s.There are historical traces that the band existed since early 70’s,but didn’t release anything before 1975.CARPE DIEM were located in Nice at the southern side of France and debuted finally in 1975 with »En regardant passer le temps ».While some obvious influences by older bands can be indicated,I find their sound to be very intricate and efficiently original.Their unique musicianship can be split in two styles.Definitely the smoother parts follow the vein of pastoral symphonic rock,characterized by the dark use of mellotron,the leading acoustic guitars,the intricate flutes,even some harpsichord appears at some moments, and, if you dare,add some atmospheric full-spacey synths around to complete this fully attractive soundscape.Seems if early KING CRIMSON and CLEARLIGHT are together on stage featuring STEVE HACKETT on guitars!On the other hand there are plenty of parts where the music is led by Claude-Marie David’s saxes and his unbelievable solos yet in a melodic way,supported by the nice breaks and dynamics of the rhythm section.Can’t help thinking of VAN DER GRAAF GENERATOR or even MAGMA listening to these parts,as they were very popular and respectful in France during the 70’s.The whole result is beyond your imagination and the album comes highly recommended to fans of daring,challenging and original music! Apps 79 (28 nov 2010)

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As if their debut album was a warm-up–though I’m sure they did not see it that way when recording it–Carpe Diem release their tour-de-force in prog, Coleurs. Although there are some singles on the B-side, and ones that are fairly decent at that, the importance of this album lies in the epic.

Coleurs is really a wonderful piece. From the mysterious introductory sequence, in which every fourth bar has a missing beat, to the nicely paced final wind-down, this track is a treat throughout. Although there’s little that’s virtuosic or innovative about this piece, the genius lies in the slow build and the textures generated by the arrangements, including some wonderful soprano sax and subdued guitar. Just a series of catchy, dreamy melodies, delivered wonderfully,

So, of course the key piece is the extended one. That should be enough for most of us, but the rest function as decent throw-ins, if that happens to sweeten the pot. In all, unique, happy, and « real » prog.that leads to one of my top 50 all time epics. Review by Flucktrot, Prog Reviewer, ( june 8, 2010)

Once in a while, a piece of music jumps out of the loudspeakers and grabs me by the throat. The opening track Couleurs is one of these pieces of music. The twenty-two minutes of music is a blend of symphonic prog, Canterbury prog and jazz. The opening salvos of moog is just heaven and utter heaven. The rest is a mix of superb vocals and the above mentioned styles of music, pretty much dominated by Claude-Marius David’s superb flute and sopransaxophon pieces. Couleurs is a creative triumph for the mankind and one of the best piece of music I have ever heard.

I have no idea who this band is. I put the album on for the first time and I lost my ability to speak for some minutes. I was spellbound. I was shocked. I was in heaven. I am now supposed to give reference points for this music. The first thing that
came into my mind was a melodic version of The Soft Machine’s closing twenty minutes long epic on their Fourth album

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which I have forgotten the name of. PFM also springs to mind. So does Genesis too. Return To Forever also springs to mind. The excellent, intense music on this album as a whole is something Chick Corea would have been happy with. Add some really good vocals too and you get the picture. In short; this is music which should appeal to mostly everyone in PA.

Couleurs is a fantastic track and the rest of the album is not that good. But it is still an excellent album and one I will saviour for decades. I still have no clue who this band is. But I am now a fan. Review by Toroddfuglesteg ( september 4, 2009)

Carpe Diem’s second album after the impressive debut « En Regardant Passer Le Temps » finds the band continuing with the « space fusion » sound, one of highly skilled compositions and perfectionist tendencies. While the first album had three tracks around 10 minutes long, here Carpe ups the ante with a juicy sidelong epic at over 21 minutes. Which album is the better one is clearly debatable. More on that later. Carpe Diem found their debut album well received and spent a good chunk of 1976 touring France in its support. In the summer the band moved from their rehearsal space in Nice to drummer Farault’s barn in the country where they began to work on the compositions for their second album. Christian would begin by offering up the melodies and the others would construct and work their parts into the piece. With the good sales of the first album and their growing reputation the band was booked into Azurville Studios in Antibes. They were given 10 days this time to record the album and worked with incredibly diligence to produce such amazing stuff. The album was released in March of 1977 and did reasonably well but failed to break them in a big way. Later in the year after more gigs guitarist Abbenanti left the band wishing a more normal existence. They replaced him and soldiered on with more gigs and plans for a third release. But as the familiar story goes,
punk was rising and the band became disillusioned with the lack of possibilities and promotion. Tragic really, because this was a band at the top of their game in every way and their 3rd album would have been stunning I would wager.

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But let’s dissect this fabulous gem just a bit.The five-part side long « Couleurs » suite is a masterpiece of French prog that is more impressive than anything on the debut. The first two minutes hint at a different approach with melodies that are the sound equivalent of birds climbing and diving through the air, followed by some hand clapping to signal the festivities at hand. Slowly the band comes to life and in the next several minutes I swear the influence is not the oft mentioned Gong or VDGG, but rather Oldfield. The sophistication and measured approach of the first album meets with more passion in this piece which is when things can get truly exciting to me. The rhythm and bass are as tight as ever but there is just a bit more color in the explorations of the guitars, sax, and keyboards. After 13 minutes there is an excellent break with a big keyboard wash followed by some fittingly smooth vocals, then it suddenly picks up and we get some very jubilant leads. It is impossible to cover the 21 minutes of twists and turns here and that’s really the point. There is lots happening throughout this piece and it is quality and interesting. Love it. The shorter pieces of side two begin are « Naissance » which begins with subtle guitar tones over mellotron. Abbenanti plays some acoustic here and the bass has a bold Chris Squire feel to it. « Le Miracle de la Saint-Gaston » begins with flute and softly picked guitar. This one has nice dreamy vocals and again the singing is more about another texture, it’s very peaceful and laid back. That’s also the overall flavor here, one of Carpe’s mellowest tracks with lots of melancholy. « Laure » has the coolest opening with the guitar work modified to an effect that is like bubbles-check it out. Bubbly also describes the rest of the track which takes an upbeat mood with flute, panned chunky chords in one part and nice electric leads in another. « Tramontane » slips back into a fusioney feel with saxophone and some intense drumming and lead guitar at times. « Divertimento » starts with just piano which is really fresh after all of the intensity, soon accompanied by lovely sax playing. Wisely the band stays away and this track becomes a piano/sax duet that is a fitting last recorded moment for Carpe Diem. The piano parts had to be recorded in but 15 minutes because the heat in the studio was causing the piano to go out of tune. The shorter tracks of side 2 suffer from not having the time to unwind and develop which one becomes enamored with after hearing the longer tracks on the two albums. What I do is sort of let them melt into one long suite in my mind, just pretend they are strung together and it works better. Hearing where this group was at makes me almost cry to think they actually recorded demos for the third album but never completed it.

Progweed’s Greg Northrup notes « the trademark Carpe Diem sound is here in spades. Guitar-led flights of fancy, cosmic synthesizers, fluid woodwinds along with an incredible degree of compositional and harmonic sophistication.As should be expected, the musicianship is monstrous, the playing is tight and energetic, and the melodies veer from gorgeous to haunting.While unavoidably outshined and made less essential by Carpe Diem’s magnificent debut album, Cueille le Jour nonetheless holds its own. Without presenting anything astoundingly different, or better, than anything off of En Regardent…, fans of that album will certainly find Cueille le Jour a satisfying complement. » [Greg Northrup]

I disagree big time with Greg and others that the debut is better. To my ears Cueille Le Jour is the more enjoyable of their two albums and I give it 4 solid stars, perhaps 4 ½ if I’m in a good mood. The long Couleurs track is an amazing slab of symphonic prowess that holds its own against other side long epics, it has a comparable feel and importance to something like Hergest Ridge or Ommadawn. It seems less rigid and stifled than the first album to me which is why I like it a bit more. The sound feels more dynamic and spacious perhaps the result of better recording conditions or their increased experience. In any case it is essential to French prog fans and highly recommended to all symphonic, space, and fusion prog fans. The Musea CD release featured good sound quality, a detailed band history and nice photos. This is an outstanding piece of prog and a great introduction to the non-Ange part of the French scene for any newbie. You will enjoy! Review by Finnforest Special Collaborator (february 25, 2008)

Having got acquainted with Carpe Diem through their sophomore (and final) release « Cueille le Tour », it was a very pleasant surprise to find out that this band already had a mature musical voice of its own as it is revealed in the repertoire of « En Regardant Passer le Temps », the debut album. There is a predominant lyricism refurbished through some spacey vibes here and there, plus a gentle use of jazz- oriented cadences within an overall symphonic scheme. On thing that caught my attention especially was the presence of rough instrumental travels in many places, energetic in a clearly psychedelic fashion. This is something that is coincidental with the dominant mood in Pulsar’s first two albums as well as Asia Minor’s debut release – going even a bit further back in time, you can also notice traces from King Crimson’s « Islands » and « Lizard ». No doubt that David’s efforts (mainly on soprano sax, but also flute) are the most notorious in the recurrent dialogues between lead guitar, wind and keyboards; by no means it is my purpose to overlook Abbenanti’s tasteful solos or Trucchi’s ability to build up phrases and orchestrations (somewhat Bardens-influenced). The solid rhythmic foundation of Berge and Faraut, meanwhile, states a
perfect balance between the pulsation of art-rock and jazz-inspired dynamics, very pertinent in order to sustain the melodic developments in each turn.

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The shortest piece, ‘Réincarnation’, opens up the album on a very Gong-meets.-early Soft Machine note. It is so exciting that one can only regret that the fade-out arrives before the 4 minutemark, but the good thing is that this sort of colorfulness is well elaborated in the next three tracks. ‘Jeux du Siècle’ is a 13- minute suite that kicks off very pastoral, featuring a playful flute flowing over the eerie synth layers. Once we get to minute 2, the full ensemble states a rich musical travel elaborated with controlled pomposity. At minute 6, a cosmic section settles in very powerfully, which eventually serves to pave the way for the climax that fills the track’s last two minutes. As impressive as this first half of the album is, I must prefer the second half. « Voyage du Non-Retour » brings similar moods and textures to those from the previous track, but in my humble opinion, the integration between the various motifs is better accomplished – I also feel that its somewhat rougher approach helps to spice things up consistently. And finally, we get to the alb
um’s undisputed gem, ‘Publiphobe’, which emerges a storm of melody and harmony craftily sustained on a whirlwind-like bass guitars sequence and lovely jazzy drum patterns. All spaces are filled in this track, yet the band cleverly avoids saturation and ornament excess. The melancholic aura displayed in the sung interlude receives much of its drive from the exciting instrumental that preceded it: here, there is an evident tension beneath the surface, relieved by the controlled dialogues between sax and guitar that take place in the moments when the band’s sound gets tighter. The playful opening motif returns for the effective coda. This sort of excellent closure is what this excellent album deserves, no less. Generally speaking, « En Regardant Passer le Temps » does not match the magical finesse soon to be delivered in « Cueille le Tour », but it sure surpasses in terms of energy and musical development. Both albums are clear indicators of the sort of progressive genius achieved by Carpe Diem, a band for the most demanding symphonic rock fan. Review by Cesar Inca Honorary Collaborator (november 13, 2008)

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This may be one of the longest anticipated CD reissues of all time for progressive rock, the great Carpe Diem’s debut album. Hailing from Nice (where Shylock, Step Ahead and Visitors are from), this quintet produced two albums of very high quality before being lost in the turn of the decade. En Regardant Passer Le Temps is a supremely excellent example of progressive rock, especially of the French scene, on par with the greats – Atoll, Shylock’s Ile De Fievre, Pulsar Halloween, Arachnoid, Terpandre, and Artcane Odyssee. It took hints from the past and combined them to express something new and unique.

Carpe Diem had their roots in the early English symphonic rock style – King Crimson, a little Van Der Graaf Generator, East of Eden and to a lesser extent Marsupilami, yet their music incoporated that distinctly French filter, an approach that occasionally sounds similar to Gong or Moving Gelatine Plates. Their music was spacey and atmospheric with that rare sense of professional restraint that only the classic symphonic groups had like PFM, Banco, or Ezra Winston. The result was a slightly jazzy and very spacious music of a fragile and delicate nature, yet with a sense of power that grows behind the complex musical structures. Throughout the four tracks, their melodies are very harmonically rich and refined, often with three parts from keys, sax, and guitar. This album is an essential, a classic that has surely stood the test of time. Exposé Mike McLatchey (Originally published in Exposé #5, p. 32, Edited for Gnosis 4/23/01)

« This album has made it as one of my favorites from the French scene, and if you’re looking to expand your horizons, give this a try. »

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One area of prog rock I failed to cover here is the French scene. I covered the British, German, and Italian scenes pretty well here, even threw in some Scandinavian acts. When people think of French prog, they think Magma, Ange, Atoll, or Pulsar. Another band worth looking in to is Carpe Diem, who only released two albums with En Regardant Passer le Temps being their first.

I bought the album because I couldn’t resist the M.C. Escher-like cover, not to mention the high praise this album had received in the prog community. The band consisted of keyboardist/vocalist Christian Truchi, guitarist Gilbert Abbenanti, bassist Alain Berge, drummer Alain Faraut, and saxist/flautist Claud-Marius David. Many times the band gets compared to Gong, but I can’t figure out why. Certianly there’s a presence of soprano sax, but what you won’t find here are songs about an imaginary planet with Pot Head Pixies. Soft Machine and Camel are the other comparisons, but I don’t notice that.

What I do notice is this is one of the more original prog albums I’ve heard from the mid 1970s. What you’ll get is more sophisticated jazz-influenced prog with lots of great sax, spacy keyboards (string synths, Farfisa electric piano), and jazzy drumming. There are vocals (in French), but surprisingly the vocals aren’t harsh (unlike, say Ange).

The album starts off with « Voyage du Non-Retour », which consists of some great jams. It’s the shortest piece on the album, and is just the start of a great album. The next cut, « Réincarnation » is without a doubt my favorite. This demonstrates the best elements of mid ’70s prog. I especially love the spacy string synths, and that electronically modified voice. « Jeux du Siècle » continues on this same greatness.

« Publiphobie » is the album’s last cut, which shows the band at their most energetic. I especially love those jazzy solos found, not to mention the Farfisa electric piano. Really, the music here is a bit hard to describe, I don’t find Carpe Diem reminding me of any particular band (regardless of the constant Gong comparison). This might be an obscure album, but don’t worry, Musea Records in France had reissued this gem on CD (as LPs aren’t exactly easy to get a hold of). This album has made it as one of my favorites from the French scene, and if you’re looking to expand your horizons, give this a try.

All five of the band members are not only very talented composers and arrangers, but also amazingly virtuosi musicians. Doubtless, Carpe Diem’s « En Regardant Passer le Temps » is one of the most complex, original, and interesting albums of 1975 and one of the brightest representatives of France’s Progressive Rock output as well. It’s a real classic for the future.

Prologue. Two weeks ago I received from Bernard Gueffier, the manager of Musea Records, a few of those legendary albums of French Progressive that I was eager to listen to since 1997, when I discovered such a wonderful source as the Gibraltar Encyclopedia of Progressive Rock. These are: Atoll’s « Tertio », « Shekina » by Zao, « Halloween » by Pulsar, Halloween’s « Le Festin » (this time, I decided to choose their latest album instead of « Merlin »), and the hero of this review, the first Carpe Diem album « En Regardant Passer le Temps ». While I am at least a little acquainted with the creation of most of the said bands (the only exception being Carpe Diem), I did not have the opportunity to hear these very albums by them before. (Next week, I’ll return to reviewing the new CD releases by Musea.)

The Album. . In the reviews of Carpe Diem’s debut album that I read their music always subjects to various comparisons, though it’s not a secret that a passion for comparisons is kind of an idee fixe (Fr., which is a ‘healthy counterpart’ of a fixed idea) of many progressive reviewers. Such definitions (just stamps, in my opinion) of the band’s style as « Camel-like version of Space-Fusion », « Prog-Fusion similar to Soft Machine », « Gong-influenced Space Rock without ambient elements, yet, with a jazzy spirit reminiscent of Moving Gelatine Plates » frequently catch my eye. Fortunately, these pages can allow me to express my own vision of the music that is presented on one of the two albums by Carpe Diem, « En Regardant Passer le Temps ». Above all, only the album’s opening track, Voyage du non-retoir, is about Classic Space Rock with elements of Jazz-Fusion and Symphonic Progressive. Yes, overall, this instrumental piece represents nothing else but a real, intensive and energetic, Space Rock jam. However, while I can agree that a few stylistic (only) parallels can be drawn between Voyage du non-retoir and the music of Moving Gelatine Plates, I don’t find any traces of Gong on this composition, as well as throughout the album. IMHO, Carpe Diem’s main ‘comparative’ object (Gong), along with Soft Machine and even MGP, though, are completely out of play. As I said, Voyage du non-retoir is the only Space Rock composition here. Also, this is the only track on the album that features elements of Jazz-Fusion. Whereas two long tracks on the album, Reincarnation and Jeux du siecle (2 & 3), both of which contain few vocals of a dramatic character (lyrics are in French), entirely consist of structures that are typical for Classic Symphonic Art-Rock and nothing else. There are elements (just elements) of Space Rock on another instrumental composition on the album, Publiphobie (4), while its dominant stylistics is Classic Symphonic Progressive as well. The album’s closing track is an original and in many ways unique piece, as well as Jeux du siecle (3) and the aforementioned Voyage du non-retoir (1). As for Camel, they never played such a complex, diverse, and hard-edged Progressive that is present at least on the first two of the said compositions (i.e. on tracks 4 & 3). The only track on the album, some of the contents of which are really comparable, is Reincarnation (2). Listen to it attentively, and you’ll find there a couple of the themes that were unobtrusively borrowed (yeah) from Firth of Fifth from Genesis’s « Selling England By the Pound » and from the final overture of « The Myths & Legends Of King Arthur & the Knights of the Round Table » by Rick Wakeman. Nevertheless, on the whole, Reincarnation is also an original, complex, and very impressive song.

Summary. All five of the band members are not only very talented composers and arrangers, but also amazingly virtuosi musicians. Doubtless, Carpe Diem’s « En Regardant Passer le Temps » is one of the most complex, original, and interesting albums of 1975 and one of the brightest representatives of France’s Progressive Rock output as well. It’s a real classic for the future.

Presse-medias

…If any of you uninitiated Americans happen to be at a « Burn Everything French » bonfire and you see someone tossing this one on the pile, scoop it up before it melts. It will be worth the blisters on your fingers. Highly recommended. Yves Dube

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Let’s jump right in.. I could give this band’s entire history and come across as a prog genius but you’d realize , upon purchasing this disc, that I merely lifted it from the extensive liner notes. This is a Musea release , and in my opinion, no label does a better job of unearthing all the facts and bios of the bands they release (making them , in my book, the premiere progressive label out there).

This quintet of ‘freedom prog’ has to be considered at the top of the list when it comes to symphonic progressive rock from « The Land Of The Unpardonnably Rude ». « Voyage Du Non-Retour » is a 3:48 instrumental piece to set the mood. We immediately realize that this is a top-notch symphonic outfit. In fact, I would put this album up against most releases by any of the Big 5 British bands recorded in 1975. Track 2 « Reincarnation » is the perfect piece to illustrate my point. It’s a 12:50, HUGE symphonic opus of the highest order ( sorry, spilled some hyperbole on my keyboard. Some must have seeped through the keys..). The track encompasses most every element of classic ’70’s prog: sparse sci-fi lyrics and tons of instrumental passages featuring a plethora of « truly progressive » instrumentation such as flute, soprano sax, and a small arsenal of analog keys. It contains roughly 4 minutes of vocals ( in French and never annoying or over the top ) and roughly 9 minutes of instrumentation. This is as lyrical as this disc gets. Track 3 » Jeux Du Siecle » clocks in at 10:10 and contains exactly 19 words of lyrics. The song begins with dreamy synths before morphing into a progressive tour-de-force featuring tremendous soprano saxophone and keyboard exchanges. The whole thing builds to a head courtesy of some nimble fretwork by guitarist Gilbert Abbenante. Keyboard player Christian Truchi should not be overlooked here either. His clean , fluid playing is also very impressive as the two trade licks. This track is about as clear a textbook definition that one could give of symphonic progressive rock ( still a little hyperbole left on the keys.. there .. got it!).

The final track is the 9:54 « Publiphobie » where we’re assaulted with a whopping 32 words ! The song opens with a droning bass line over which each member bobs and weaves a myriad of musical lines. The brief, haunting lyrics are then dispatched within a minute or so, over some tasty soprano sax. The closing segments are, once again, textbook symph prog . A delicate guitar line is randomly bombarded with some sax parts and a pounding bass line until it morphs into a psychedelic-laden guitar venture. Each member is given a chance to shine as the track keeps adding layers of complexity , while remaining highly musical and flowing. Alas, the disc comes to an end far too quickly since it clocks in at approximately 36:00 only. Rest assured it’s time well spent as there is no room for filler on this one.

If any of you uninitiated Americans happen to be at a « Burn Everything French » bonfire and you see someone tossing this one on the pile, scoop it up before it melts. It will be worth the blisters on your fingers .Highly recommended. Yves Dube

To my ears, it’s fairly unique music that doesn’t draw any ready comparisons. And that’s the best kind… definitely worth a listen. Great. Mike Ohman

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Truly excellent mid seventies French seventies spacy fusion band. Often quoted as being like Gong, I can see where they’re coming from, yet Carpe Diem did not have Gong’s new-agey themes and crazed abandon and were a beautiful and often Camel-like version of space fusion. Carpe Diem only put out two, although superb, albums En Regardant Passer Le Temps and Cuielle Le Jour. Evidently Musea have these in their plans, and they better, because you probably couldn’t find them anyway!

Somewhat hard to describe music. Sounds like a cross between Camel and a very laid back Soft Machine. It almost spacey, as the fluid music (the Camel part) carries you along nicely. Lots of soprano sax and some slight jazz feel bring in the Soft Machine comparison. To my ears, it’s fairly unique music that doesn’t draw any ready comparisons. And that’s the best kind… definitely worth a listen.

I have heard En Regardant Passer Le Temps. An outstanding example of French prog fusion; less jazzy than Edition Speciale, not as loony as Gong, though there are similarities. Lots of soprano sax and flute, guitar is also prominent. Keyboards aren’t flashy or even up-front, but the polyphonic synths provide a constant, spacy chordal backdrop over which the guitar and woodwinds solo. Some light vocalizings that sort of remind of Pulsar. Great!. — Mike Ohman

//…The album is characterised by some excellent interplay. There is ample space for the players to express themselves, against the backdrop of a close knit and vibrant rhythm section. Many of the pieces build up a significant and infectious groove. Circonvolutions has many opulent moments, filled with exemplary solos that rise and fall to counteract and enhance the groove created //… By Owen Davies ( septembre 2016 ) 7.5 out of 10

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CARPE DIEM – CIRCONVOLUTIONS

Circonvolutions has been on my review to do list for quite some time. However, on the plus side, this delay has enabled me to get to know the album well and appreciate its numerous qualities.

French band Carpe Diem released two albums in the 1970s. They were En Regardant Passer Le Temps, released in 1975, and Cueille Le Jour, released in 1976. Circonvolutions features six studio compositions recorded in 2015 and two live tracks recorded in 1978.

In Circonvolutions, Carpe Diem continues to ply and evolve their unique brand of atmospheric, jazz-tinged progressive rock. The band successfully mixes melodic symphonic elements and fusion.Their style is quite mellow and at times might be compared to Camel and Ange.

The live pieces feature the late Marius David on saxes, flute and percussion, and highlight the band’s ability to confidently stretch things out. The recording quality of the live tracks is excellent and both are thoroughly entertaining, containing some of the finest moments of the album.

The album is characterised by some excellent interplay. There is ample space for the players to express themselves, against the backdrop of a close knit and vibrant rhythm section. Many of the pieces build up a significant and infectious groove. Circonvolutions has many opulent moments, filled with exemplary solos that rise and fall to counteract and enhance the groove created

Circonvolutions is pleasant on the ear, beautifully arranged and always exquisitely performed. The vocal parts add atmosphere, and create just the right choral balance. This gives much of the music a vibrant, cinematic quality. Despite being accessible, the album is neither too complex, nor too straightforward for it to become uninspiring, or uninteresting.

The keyboard work of principal composer and vocalist Christian Truchi is a highlight, and should please those who enjoy a keyboard sound that is rooted in the 70s. During the course of the album, there are occasions when the production values recall the sound of the 80s, and significantly there are also times when a more contemporary sound is adopted. The intense, yet playful duelling between the dual saxophone parts and keyboards in various guises, that is ably supported by an assortment of instruments, is a recurring theme throughout the longer pieces of the album.

Tibetan Monuments‘ strange mix of a Pet Shop Boys vocal style, combined with an intermittent backdrop of a gorgeous, swirling Mellotron effect, immediately stood out. This combination was difficult to pigeon hole, or classify. The piece was also punctuated by some boldly corpulent sax lines, that added another unexpected, but appealing element. The whole incessant, chanted, rhythmic effect created by the blending of these components, had me falsely considering that aspects of this piece were in some ways reminiscent of Magma.

The title track’s memorable main theme could have been plucked from a movie soundtrack, such was its ability to create a colourful soundscape, on which a variety of scenes might be built. The dual saxophone parts in the opening scene were particularly attractive. The main theme is repeatedly shaped, altered and reprised to act as a bridge between each component of the tune. These components feature some excellent solos and ensemble playing by all members of the band. The fast-running bass solo in the middle of the piece was superbly executed, and marks another of the album’s highpoints.

By way of a contrast to the long-running title track, Namire is a short interlude delivered superbly by acoustic guitarist Gerald Macia. It is beautifully constructed and is reminiscent of some of the finest acoustic work of Jan Akkerman.

Wedding Day is a fine example of Truchi’s skilful ability to write a short, whimsical song that acts as a perfect foil to the album’s longer compositions. It is easily digested and can be appreciated on both an emotional, and technical level, such is its quality and subtle appeal.

Overall, I found Circonvolutions a rewarding and satisfying album. This opinion has not changed after three months of ownership, and after numerous plays. It may not have complexity or the relative inaccessibility that some readers might find attractive, but as a well-constructed and melodically pleasant album, with a touch of finesse and flair, it ticks many positive boxes. By Owen Davies ( septembre 2016 )

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A legend is back! Remember: the famous Crypto label, created by Jean-Claude Pognant, contributed in discovering French bands as essential as Ange by the mid seventies. Among those was Carpe Diem. Led by Claude-Marius David (saxophone & flute), this band from Nice gave birth to two splendid albums: « En Regardant Passer Le Temps » (1975) and « Cueille Le Jour » (1976). All reissued by Musea on the CD form. Their refined progressive rock featured rare vocal parts (but was never boring or demonstrative), instrumental intensity, through sophisticated songwriting and structures. Fluid organ reworked sounds were beautifully combined with lyrical flute, sax, clarinet parts or airy guitars, to create a dreamlike rock evoking Ange, Caravan, Fruupp and King Crimson (‘Starless’) with a very slight jazz touch. Well, you’ll find the charm of the past in ‘Tibetan Moment’ (those gorgeous keyboards!), the great circumvolutions structures in ‘Circonvolutions’ precisely. ‘Wedding Day’ recalls Sting’s ‘An Englishman in New Yrok’ a bit by the instrumentation (!). And nostalgia fully operates with the superb ‘Jardin de verre’ and ‘L’imagerie fantastique’, both unpublished typical labyrinthine epics from 1978. Yes, a legend is back! Thierry (nov 2015)Presse médias

Presse Médias

I was taken aback when I noticed on the PA homepage that Carpe Diem released its third album after nearly a forty-year hiatus. I remember a conversation from a few years ago with the friend who introduced me to this excellent band and I recall lamenting how Carpe Diem released only two albums. The album’s Escher-like black and white cover brought to mind that of the band’s debut album. I purchased it immediately, of course.

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Five past members of the band are featured: keyboardist and singer Christian Truchi, drummer Alain Faraut, guitarist Gilbert Abbenanti, bassist/vocalist George Ferrero and guitarist/violinist Gérald Macia. The last two joined the band in 1977 and worked on a yet-unreleased album. Saxophonist and flautist Claude-Marius David was a key contributor to the band’s sound and he unfortunately passed away in the early 80s. To fill in his role, the band brought it two guest saxophonists/flautists: David Amar and Manu Dicostanzo. Melodie Rose is another guest musician, contributing drumming and background vocals.

The two longest tracks were originally recorded live in 1978 and feature Claude-Marius David.

The first track, Along the Great Wall, had me worried with its introductory 80s style electro-beat, but fortunately it is soon doused in the band’s characteristic jazzy prog.

Conte de saxs is a saxophone duet. It reminds me of Alan Parsons Project in style. The band makes effective use of its two saxophonists on the album, having them play together.

The instrumental title track starts with a sequencer pattern (it reminds me of organ’s repeat function as used by the Who on Baba O’Riley), unusually for the band. The pattern is then played on saxophone, drums, guitar, synths and organ at different points in the track. It’s a pleasant enough composition (I especially like the electric guitar duet), but it sounds more like minute-long snippets spliced together and tied by the recurring pattern. With all the instrumentation changes, I feel it doesn’t have a chance to develop organically as the band’s previous longer compositions. The ending saxophone duet is a satisfying conclusion, though.

L’imagerie fantastique is one of the two tracks recorded live in 1978, and clocking at 11 minutes, is the album’s longest track. It starts in an ambient manner. This track features Truchi’s familiar keyboard he used so often on the band’s previous albums. After a couple of minutes, drums join in and theme reminds me of Jeux du siécle. The second half is characterized by an interesting saxophone/wordless chanting duet.

Namire is a beautiful solo acoustic guitar piece in a Renaissance style, performed by Gérald Macia. It reminds me of Steve Howe’s Mood for a Day.

Wedding Day is a pleasant laid-back jazzy shuffle with interesting saxophone/flute/violin interplay, but I don’t really like the scat singing in the refrain.

Jardin de verre (« Glass garden ») is the other live track from 1978 and only slightly shorter than L’imagerie fantastique. It stars off in an almost classical manner with violin, flute and string synth, then evolves into a standard Carpe Diem workout.

Overall, I found Circonvolutions to be an enjoyable album. It is not very demanding listening, but the album is impeccably played and produced and I genuinely like listening to it, despite my aversion to jazz. I applaud the band for this offering that has one foot planted in the band’s classic 70s sound and the other exploring new musical horizons. Replayer (novembre 2015)

The third album from this French band.This band was never on my list of those bands I thought would make a comeback. Their first two albums was released back in 1976. So, after thirty-nine years, this album pops up. And that out of the blue.

Mostly the same persons from the 1976 albums is involved in this album too. The lineup is keyboards, bass, drums, guitars, woodwinds and vocals. French vocals, that is.

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I have noted from my reviews of their first two albums that their music were somewhere between fusion and symphonic prog. Others has compared them to Atoll, Pulsar, Ange and Mona Lisa. In particular; the first two above mentioned bands.

Thirty-nine years later, the band’s sound and music has not changed much. They have gone a bit more towards jazz though. A bit more of Weather Report’s more jazzy side. But there are still a lot of symphonic prog here. Yes, Pulsar and Atoll springs to mind here.

Most of the album is instrumental and it is obvious that the band is in a playful mood here. The album is full of interesting details and melody lines. The vocals is funny and also used as instruments.

The music is a bit too jazz light for my liking and some parts of this album is a bit sound collage/pastisj like. But the band has not changed much since 1976 and they have not gone for a commercial sound and album here. Fans of this band, and there is not many of those, will love this album. I think this fifty minutes long album is a good album which oozes respectability and class.I raise my hat to this band. Torode Fuglesteg (10 janvier 2016)